This week we’re going to look at how to play a G9 chord on guitar, built with the 3rd on the bottom, then the flat 7th, the 9th, and the 5th—low to high.
The finger pattern is simple:
- Pointer finger plays the 3rd on the 5th string
- Ring finger plays the flat 7th on the 4th string
- Middle finger plays the 9th on the 3rd string
- Pinky plays the 5th on the 2nd string
This is a great shape to use over any dominant 7th chord with a natural 9—like G9, D9, A9, etc. Just slide the shape around the fretboard.
The root of the chord is on the 6th string, but we don’t play it. Instead, we use what’s called an implied root. You picture the root and use it to orient your hand, but you don’t actually play it.
So remember: your pointer finger will be one fret below the root. If your pointer is on the 2nd fret, you’re playing a G9 chord on guitar.
Move it up two frets and you’ve got an A9. Learning the notes on your 6th string is key to using this shape anywhere on the neck.
One quick note: this shape works best for unaltered dominant chords. If the chord calls for a sharp or flat 9, or a sharp or flat 5, you’ll want to adjust this grip.
Putting the G9 Chord on Guitar In Context
Let’s use this chord in a ii–V–I progression in C major:
- Dm7 as the ii chord (root on the 2nd string, 3rd fret)
- G9 as the V chord (this week’s chord!)
- Cmaj9 as the I chord (last week’s chord of the week)
An interesting thing about using these shapes is that they all share the same top note—D on the 2nd string, 3rd fret. That means your melody note stays consistent across the whole progression, and your fingers don’t have to move much at all.
The biggest shift happens when landing on the Cmaj9, but even that’s not too drastic.
This gives you a usable, compact grip for any ii–V–I you come across in C—and a nice voicing-based melody across the changes.
For more chords you can use for ii V I progressions like this, check out Jazz Guitar Survival Guide- the ultimate quick reference guide for jazz guitar.
Improv Tip of the Week: Soloing over G9 Chord on Guitar
Here’s a G9 arpeggio to go with this week’s chord. We’re basing it off the chord tones:
3 – 5 – b7 – 9 – 3 – 5
These notes are all close to the chord shape, but I’ve added two extras to give it more movement: another 3rd on the 3rd string, and a 5th down on the 5th string.
Try playing it ascending like this:
- Pick the 3rd
- Hammer-on to the 5th
- Pick the flat 7
- Pick the 9th
- Hammer-on to the next 3rd
- Pick the 5th
For descending:
- Pick the 5th
- Pick the 3rd
- Pull-off to the 9th
- Pick the flat 7
- Pick the 5th
- Pull-off to the 3rd
This gives you a smooth, legato line that outlines the harmony without sounding too stiff. Try alternating between playing the chord and this arpeggio to create your own melodic phrases.
Bonus: Try It In a Line
Here’s a short phrase using the G9 arpeggio over the V chord in the same ii–V–I progression:
- Dm7: Play a basic Dm7 arpeggio (check the diagram above for finger placement)
- G9: Use the arpeggio you just learned for soloing over this chord on your guitar
- Cmaj9: Use the melodic cell from last week’s chord of the week
Try playing through the tab and diagram, then mix and match your own ideas. Just keeping your lines simple and clear is the best way to start improvising through changes like this.
Wrapping It Up
Enjoy exploring this G9 chord on guitar! It’s a versatile shape with a built-in melody, and pairing it with the arpeggio gives you an easy path to sounding more musical right away.
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